TT Geekette is an experimental variable* serif with friendly and flexible character of shapes. In this project, we wanted to get away from simplifications and dry geometry and to experiment with the smoothness, softness and plasticity of forms. And in order to make the project a little more stylish and serious, we decided to make the font monospaced. When creating TT Geekette, we did not rely on traditional writing techniques or on the influence of pen movement on the font pattern. Despite the fact that judging by certain characters TT Geekette is a serif, the font is specifically “built” and “drawn”. There are several systemic techniques in font design, such as “loops” which set the plastic rhythm for the entire typeface. Variability in TT Geekette is influenced by contrast buildup in the font—moving the slider to adjust the variability axis, you gradually move from a completely non-contrast monolinear serif font to a font with a pronounced reverse contrast. In addition, with the help of the variability slider, you can remove serifs from the monolinear essence of the font. The TT Geekette family consists of 3 styles: the TT Geekette Bones—monolinear font, the TT Geekette Muscles—reverse contrast serif, and the TT Geekette Variable font. Each style contains over 450 glyphs. And yes, technically the typeface can be used in programming, at least you are guaranteed to get your share of bright emotions. *An important clarification regarding variable fonts. At the moment, not all graphic editors, programs and browsers support variable fonts. You can check the status of support for the variability of your software here: v-fonts.com/support/

Discover here the Eastman Roman Family See the Eastman Grotesque Family Designed in 2020 for Zetafonts by Francesco Canovaro and Andrea Tartarelli with help from Solenn Bordeau and Cosimo Lorenzo Pancini, the original Eastman typeface family was conceived as a geometric sans workhorse family developed for maximum versatility both in display and text use. The original wide weight range has been complemented with three more additional widths, to give you maximum control over the appearance of text in your page. While Eastman Compressed and Eastman Condensed behave as space-saving condensed families, Eastman Grotesque adapts the family design style to humanist proportions. All share a solid monolinear design and a tall x-height that makes body text set in Eastman extremely readable on paper and on the screen. Influenced by Bauhaus ideals and contemporary minimalism, but with a nod to the pragmatic nature 19th century grotesques, Eastman has been developed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs - from a wide language coverage (thanks to over one thousand and two hundred latin, Cyrillic and greek characters) to a complete set of open type features (including small capitals, positional numbers, case sensitive forms). The most impressive feature of all Eastman fonts remains the huge choice of alternate characters and stylistic sets that allows you to fine-tune your editorial and branding design by choosing unique, logo-ready variant letter shapes. Don’t want to lose too much time with the glyphs palette? Use the Eastman Alternate weights, thought for display use and presenting a selection of some of the more eye catching & unusual letter shapes available for the family.

Sonrisa is a design that evolved from my sketches of the skeletal structure of Jakob Erbar’s Koloss, trying to discover its underlying essence without all the contrast and bulkiness of the original design. Sonrisa Thin was the resulting font, from which the other weights of the family were developed. Gentle curves, open counters, generous x-height, and sleekly tapered terminals give Sonrisa a very legible, modern, elegant appearance. When she saw the first draft of this typeface, the smile on my friend Jennifer’s face gave me the idea to call it “Sonrisa” (Spanish for “smile”). Jennifer, a clinical psychologist, described Sonrisa’s personality as: "happy, clean, clear, open, joyful, spacious, playful, calm. I can see it being used for body product lines such as oils and lotions. Can see it being used in home/travel magazines or even Architectural Digest. Yoga magazine, definitely." Sonrisa is what some foundries call a “Pro” typeface family with all the bells and whistles that provide typographic versatility: true small caps, oldstyle numerals, arbitrary fractions, discretionary ligatures, and other powerful OpenType features. All fonts in the family, except Sonrisa Titling, support most European languages, including modern Greek and languages that use the Cyrillic Alphabet. (Cyrillic glyphs designed in consultation with Ukrainian type designer, Sergiy S. Tkachenko.) Sonrisa is available in the original Thin, monoline version as well as six weights (Light, Regular, Medium, Bold, Extra Bold, Black), and a Titling font that is essentially a display font construction kit. If you enjoy using Sonrisa even half as much as I enjoyed creating it, then I know you will have a “sonrisa” (smile) on your face!